DOCSLIB.ORG

Tiempo Y Narración En "El Ángel Exterminador"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tiempo Y Narración En UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD II TESIS DOCTORAL Tiempo y narración en El Ángel Exterminador MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Jairo Lopes da Silva DIRECTOR Francisco García García Madrid, 2016 © Jairo Lopes da Silva, 2016 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD II TESIS DOCTORAL Tiempo y narración en El Ángel Exterminador MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Jairo Lopes da Silva Director Francisco García García Madrid, 2015 Tiempo y narración en El Ángel Exterminador “Perro que anda, hueso encuentra” (Sabiduría popular contra el inmovilismo humano) Agradezco profundamente a estos ángeles que me acompañaron en esta tesis: Francisco García García, que una mañana de invierno se cruzó en mi camino y lo iluminó en dirección a esta tesis. Antonio Castro por revelarme, hace años, el valor de la obra de Luis Buñuel. Luis García Gutiérrez y Marga Gómez que pusieron la tesis en lenguaje cristiano y a Teresa Sastre que la transformó en códice. Ângela, Ana y Raúl, por su presencia en la cercanía, dándome ánimos y cariño. Fidel Martín y Rosa Gago por su presencia en la distancia, dándome su amistad y todo el apoyo necesario. Sonia Días, mi ángel acompañante que permaneció a mi lado durante todo el recorrido. Y a Etelvina Ordália, Jair Lopes y Maria Mazzarello que, aunque ya no puedo verlos, siento su protección y cariño. Además, me gustaría dejar constancia de mi gran admiración por el ángel Luis Buñuel y su obra, que a su manera sarcástica y revolucionaria se autoproclamaría ángel caído. Índice de contenido RESUMEN ............................................................................................................................................................... Pág. 1 ABSTRACT ................................................................................................................................................................ Pág. 7 1. INTRODUCCIÓN ...................................................................................................................................... Pág. 13 1.1. Objeto y contexto ........................................................................................................................... Pág. 15 1.2. Propósito ............................................................................................................................................... Pág. 18 1.3. Motivación de esta investigación ....................................................................................... Pág. 19 1.4. Finalidad ................................................................................................................................................ Pág. 19 1.5. Sentido y oportunidad ................................................................................................................ Pág. 20 1.6. Recursos documentales ............................................................................................................. Pág. 21 1.6.1. La película ............................................................................................................................... Pág. 23 1.6.2. Documentos ......................................................................................................................... Pág. 26 1.7. Estructura del estudio ................................................................................................................. Pág. 31 2. TEORÍAS PREVIAS Y ESTADO DE LA CUESTIÓN ...................................................... Pág. 33 2.1. El universo Buñuel .......................................................................................................................... Pág. 35 2.1.1. La obra de Buñuel ............................................................................................................ Pág. 35 2.1.2. Estudios hechos sobre Buñuel y su obra ......................................................... Pág. 48 2.1.3. El Ángel Exterminador ..................................................................................................... Pág. 54 2.2. La narrativa audiovisual ............................................................................................................. Pág. 64 VII Tiempo y narración en El Ángel Exterminador 2.3. La creación y construcción de la historia ....................................................................... Pág. 74 2.3.1. El narrador .............................................................................................................................. Pág. 78 2.3.2. El punto de vista ................................................................................................................ Pág. 83 2.3.3. El narratario ........................................................................................................................... Pág. 87 2.3.4. El personaje .......................................................................................................................... Pág. 89 2.3.5. Las estructuras narrativas ........................................................................................ Pág. 101 2.3.6. El espacio .............................................................................................................................. Pág. 115 2.3.7. El tiempo .............................................................................................................................. Pág. 125 2.4. La creación del discurso .......................................................................................................... Pág. 153 2.4.1. La puesta en escena ..................................................................................................... Pág. 156 2.4.2. La puesta en cuadro ..................................................................................................... Pág. 166 2.4.3. La puesta en serie .......................................................................................................... Pág. 168 2.4.4. Los códigos de la imagen ......................................................................................... Pág. 176 2.4.4.1. El encuadre ........................................................................................................... Pág. 176 2.4.4.2. Los planos .............................................................................................................. Pág. 180 2.4.4.3. Ángulo y punto de vista .............................................................................. Pág. 187 2.4.4.4. Los movimientos .............................................................................................. Pág. 194 2.4.4.5. La regla del eje .................................................................................................... Pág. 207 2.4.4.6. Distancia focal y profundidad de campo ........................................ Pág. 208 2.4.5. Los códigos del sonido ............................................................................................. Pág. 212 2.4.6. La materialización del discurso .......................................................................... Pág. 221 2.4.6.1. La preproducción ............................................................................................. Pág. 221 2.4.6.2. La producción ..................................................................................................... Pág. 226 2.4.6.3. La posproducción: la fusión de la imagen con el sonido .... Pág. 229 2.4.7. La poética y las referencias creativas del discurso ................................. Pág. 243 2.4.7.1. Signos, símbolos y significación ............................................................ Pág. 243 2.4.7.1.1. Unidades básicas para crear significados ............................Pág. 246 2.4.7.1.2. Maneras de significar ......................................................................... Pág. 249 2.4.7.1.3. Los códigos audiovisuales ............................................................. Pág. 257 2.4.7.1.4. El sentido ................................................................................................... Pág. 259 VIII Índice 2.4.7.2. Teatro y cine ........................................................................................................ Pág. 260 2.4.7.2.1. El teatro del absurdo .......................................................................... Pág. 266 2.4.7.2.2. El teatro del esperpento ....................................................................Pág. 270 2.4.7.3. Mitología nórdica: las Valquirias ............................................................. Pág. 272 2.4.7.4. El surrealismo ...................................................................................................... Pág. 274 2.4.7.5. El inconsciente .................................................................................................... Pág. 281 2.4.7.6. La relación espacio y tiempo ................................................................... Pág. 292 3. DISEÑO DE LA INVESTIGACIÓN ........................................................................................... Pág. 303 3.1. Objeto formal .................................................................................................................................. Pág. 305 3.2. Preguntas de investigación ..................................................................................................
Load more

Recommended publications
  • The Apology | the B-Side | Night School | Madonna: Rebel Heart Tour | Betting on Zero Scene & Heard
    November-December 2017 VOL. 32 THE VIDEO REVIEW MAGAZINE FOR LIBRARIES N O . 6 IN THIS ISSUE One Week and a Day | Poverty, Inc. | The Apology | The B-Side | Night School | Madonna: Rebel Heart Tour | Betting on Zero scene & heard BAKER & TAYLOR’S SPECIALIZED A/V TEAM OFFERS ALL THE PRODUCTS, SERVICES AND EXPERTISE TO FULFILL YOUR LIBRARY PATRONS’ NEEDS. Learn more about Baker & Taylor’s Scene & Heard team: ELITE Helpful personnel focused exclusively on A/V products and customized services to meet continued patron demand PROFICIENT Qualified entertainment content buyers ensure frontlist and backlist titles are available and delivered on time SKILLED Supportive Sales Representatives with an average of 15 years industry experience DEVOTED Nationwide team of A/V processing staff ready to prepare your movie and music products to your shelf-ready specifications Experience KNOWLEDGEABLE Baker & Taylor is the Full-time staff of A/V catalogers, most experienced in the backed by their MLS degree and more than 43 years of media cataloging business; selling A/V expertise products to libraries since 1986. 800-775-2600 x2050 [email protected] www.baker-taylor.com Spotlight Review One Week and a Day and target houses that are likely to be empty while mourners are out. Eyal also goes to the HHH1/2 hospice where Ronnie died (and retrieves his Oscilloscope, 98 min., in Hebrew w/English son’s medical marijuana, prompting a later subtitles, not rated, DVD: scene in which he struggles to roll a joint for Publisher/Editor: Randy Pitman $34.99, Blu-ray: $39.99 the first time in his life), gets into a conflict Associate Editor: Jazza Williams-Wood Wr i t e r- d i r e c t o r with a taxi driver, and tries (unsuccessfully) to hide in the bushes when his neighbors show Editorial Assistant: Christopher Pitman Asaph Polonsky’s One Week and a Day is a up with a salad.
    [Show full text]
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
    [Show full text]
  • Martin Scorsese Set to Receive Cinematic Imagery Award from the Art Directors Guild’S Excellence in Production Design Awards, Feb
    Martin Scorsese MARTIN SCORSESE SET TO RECEIVE CINEMATIC IMAGERY AWARD FROM THE ART DIRECTORS GUILD’S EXCELLENCE IN PRODUCTION DESIGN AWARDS, FEB. 8, 2014 LOS ANGELES, Dec. 5, 2013 - Academy Award®-winning filmmaker Martin Scorsese, whose films have consistently reflected the highest quality of production design, will receive the prestigious Cinematic Imagery Award from the Art Directors Guild (ADG) at its 18th Annual Art Directors Guild’s Excellence in Production Design Awards, it was announced today by ADG Council Chairman John Shaffner and Awards Producers Raf Lydon and Dave Blass. Set for February 8, 2014, the black-tie ceremony at The Beverly Hilton Hotel will be hosted by Owen Benjamin and will honor more than 40 years of Scorsese’s extraordinary award-winning work. The ADG’s Cinematic Imagery Award is given to those whose body of work in the film industry has richly enhanced the visual aspects of the movie-going experience. Previous recipients have been the Production Designers behind the James Bond franchise, the principal team behind the Harry Potter films, Bill Taylor, Syd Dutton, Warren Beatty, Allen Daviau, Clint Eastwood, Blake Edwards, Terry Gilliam, Ray Harryhausen, Norman Jewison, John Lasseter, George Lucas, Frank Oz, Steven Spielberg, Robert S. Wise and Zhang Yimou. Said Shaffner, "The ADG has wanted Scorsese to accept this deserving honor since the earliest days of its inception. We are beyond delighted that his schedule finally now allows him time to receive it! The ADG has always considered his hands-on pursuit of excellence of production design to equal all of the fine craftsmanship that goes into every aspect of all Martin Scorsese films." Martin Scorsese is one of the most prominent and influential filmmakers working today.
    [Show full text]
  • Wellington Programme
    WELLINGTON 24 JULY – 9 AUGUST BOOK AT NZIFF.CO.NZ 44TH WELLINGTON FILM FESTIVAL 2015 Presented by New Zealand Film Festival Trust under the distinguished patronage of His Excellency Lieutenant General The Right Honourable Sir Jerry Mateparae, GNZM, QSO, Governor-General of New Zealand EMBASSY THEATRE PARAMOUNT SOUNDINGS THEATRE, TE PAPA PENTHOUSE CINEMA ROXY CINEMA LIGHT HOUSE PETONE WWW.NZIFF.CO.NZ NGĀ TAONGA SOUND & VISION CITY GALLERY Director: Bill Gosden General Manager: Sharon Byrne Assistant to General Manager: Lisa Bomash Festival Manager: Jenna Udy Publicist (Wellington & Regions): Megan Duffy PROUDLY SUPPORTED BY Publicist (National): Liv Young Programmer: Sandra Reid Assistant Programmer: Michael McDonnell Animation Programmer: Malcolm Turner Children’s Programmer: Nic Marshall Incredibly Strange Programmer: Anthony Timpson Content Manager: Hayden Ellis Materials and Content Assistant: Tom Ainge-Roy Festival Accounts: Alan Collins Publications Manager: Sibilla Paparatti Audience Development Coordinator: Angela Murphy Online Content Coordinator: Kailey Carruthers Guest and Administration Coordinator: Rachael Deller-Pincott Festival Interns: Cianna Canning, Poppy Granger Technical Adviser: Ian Freer Ticketing Supervisor: Amanda Newth Film Handler: Peter Tonks Publication Production: Greg Simpson Publication Design: Ocean Design Group Cover Design: Matt Bluett Cover Illustration: Blair Sayer Animated Title: Anthony Hore (designer), Aaron Hilton (animator), Tim Prebble (sound), Catherine Fitzgerald (producer) THE NEW ZEALAND FILM
    [Show full text]
  • Prog-Web.Pdf
    Programme Programme MARS - MAI ‘16 EXPOSITION MARS - MAI 2016 RÉTROSPECTIVE GUS VAN SANT RÉTROSPECTIVES HOU HSIAO-HSIEN Jean gabin Raoul ruiz Pierre richard MichÈle rosier Carte blanche à jean-michel alberola cinematheque.fr La Cinematheque-Parution MDE-012016 19/01/16 15:12 Page1 www.maisondesetatsunis.com POUR Vos voyages à PORTLAND La Maison des Etats-Unis ! Love Portland - 1670 €* Séjour de 7 j. / 5 n. Vols internationaux, hôtel*** Partez assisté d’une équipe de spécialistes qui fera de votre voyage un moment inoubliable. Retrouvez l’ensemble de nos offres www.maisondesetatsunis.com 3, rue Cassette Paris 6ème Tél. 01 53 63 13 43 [email protected] Du lundi au samedi de 10h à 19h. Prix à partir de, soumis à conditions Copyright Torsten Kjellstrand www.travelportland.com Gerry ÉDITORIAL Après Martin Scorsese, c’est à Gus Van Sant que la Cinémathèque française consacre une grande exposition et une rétrospective intégrale. Nourri de modernité euro- péenne, figure du cinéma américain indépendant dans les années 90, à l’instar d’un Jim Jarmush pour la décennie précédente, le cinéaste de Portland, Oregon est un authentique plasticien. Nous sommes heureux de montrer pour la première fois en France ses travaux de photographe et de peintre, et d’établir ainsi des correspon- dances avec ses films. Grand inventeur de dispositifs cinématographiques Elephant( , pour citer le plus connu de ses théorèmes), Gus Van Sant est aussi avide d’expériences commerciales, menées au cœur même de l’industrie (Prête-à-tout, Psychose, Will Hunting ou À la recherche de Forrester), et pour lesquelles il peut déployer toute sa plasticité d’auteur très américain, à la fois modeste et déterminé.
    [Show full text]
  • Ficm Cat16 Todo-01
    Contenido Gala Mexicana.......................................................................................................125 estrenos mexicanos.............................................................................126 Homenaje a Consuelo Frank................................................................... 128 Homenaje a Julio Bracho............................................................................136 ............................................................................................................ introducción 4 México Imaginario............................................................................................ 154 ................................................................................................................. Presentación 5 Cine Sin Fronteras.............................................................................................. 165 ..................................................................................... ¡Bienvenidos a Morelia! 6 Programa de Diversidad Sexual...........................................................172 ..................................................... Mensaje de la Secretaría de Cultura 7 Canal 22 Presenta............................................................................................... 178 Mensaje del Instituto Mexicano de Cinematografía ������������9 14° Festival Internacional de Cine de Morelia.............................11 programas especiales........................................................................ 179
    [Show full text]
  • Putney Swope
    THE FILM FOUNDATION 2019 ANNUAL REPORT OVERVIEW The Film Foundation supports the restoration of films from every genre, era, and region, and shares these treasures with audiences through hundreds of screenings every year at festivals, archives, repertory theatres, and other venues around the world. The foundation educates young people with The Story of Movies, its groundbreaking interdisciplinary curriculum that has taught visual literacy to over 10 million US students. In 2019, The Film Foundation welcomed Kathryn Bigelow, Sofia Coppola, Guillermo del Toro, Joanna Hogg, Barry Jenkins, Spike Lee, and Lynne Ramsay to its board of directors. Each has a deep understanding and knowledge of cinema and its history, and is a fierce advocate for its preservation and protection. Preservation and Restoration World Cinema Project Working in partnership with archives and studios, The Film Foundation’s World Cinema Project has The Film Foundation has helped save over 850 films restored 40 films from24 countries to date. to date. Completed projects in 2019 included: Completed projects in 2019 included: THE CLOUD– William Wyler’s beloved classic, DODSWORTH; CAPPED STAR (India, 1960, d. Ritwik Ghatak), EL Herbert Kline’s acclaimed documentary about FANTASMA DEL CONVENTO (Mexico, 1934, d. Czechoslovakia during the Nazi occupation, CRISIS: Fernando de Fuentes), LOS OLVIDADOS (Mexico, A FILM OF “THE NAZI WAY”; Arthur Ripley’s film 1950, d. Luis Buñuel), LA FEMME AU COUTEAU noir about a pianist suffering from amnesia, VOICE (Côte d’Ivoire, 1969, d. Timité Bassori), and MUNA IN THE WIND; and John Huston’s 3–strip Technicolor MOTO (Cameroon, 1975, d. Jean–Pierre Dikongué– biography of Toulouse–Lautrec, MOULIN ROUGE.
    [Show full text]
  • Sight & Sound Annual Index 2017
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 27 January to December 2017 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 6:52(r) Amour (2012) 5:17; 6:17 Armano Iannucci Shows, The 11:42 Ask the Dust 2:5 Bakewell, Sarah 9:32 Film review titles are also interview with Koreeda Amours de minuit, Les 9:14 Armisen, Fred 8:38 Asmara, Abigail 11:22 Balaban, Bob 5:54 included and are indicated by Hirokazu 7:8-9 Ampolsk, Alan G. 6:40 Armstrong, Jesse 11:41 Asquith, Anthony 2:9; 5:41, Balasz, Béla 8:40 (r) after the reference; age and cinema Amy 11:38 Army 2:24 46; 10:10, 18, 44 Balch, Antony 2:10 (b) after reference indicates Hotel Salvation 9:8-9, 66(r) An Seohyun 7:32 Army of Shadows, The Assange, Julian Balcon, Michael 2:10; 5:42 a book review Age of Innocence, The (1993) 2:18 Anchors Aweigh 1:25 key sequence showing Risk 8:50-1, 56(r) Balfour, Betty use of abstraction 2:34 Anderson, Adisa 6:42 Melville’s iconicism 9:32, 38 Assassin, The (1961) 3:58 survey of her career A Age of Shadows, The 4:72(r) Anderson, Gillian 3:15 Arnold, Andrea 1:42; 6:8; Assassin, The (2015) 1:44 and films 11:21 Abacus Small Enough to Jail 8:60(r) Agony of Love (1966) 11:19 Anderson, Joseph 11:46 7:51; 9:9; 11:11 Assassination (1964) 2:18 Balin, Mireille 4:52 Abandon Normal Devices Agosto (2014) 5:59 Anderson, Judith 3:35 Arnold, David 1:8 Assassination of the Duke Ball, Wes 3:19 Festival 2017, Castleton 9:7 Ahlberg, Marc 11:19 Anderson, Paul Thomas Aronofsky, Darren 4:57 of Guise, The 7:95 Ballad of Narayama, The Abdi, Barkhad 12:24 Ahmed, Riz 1:53 1:11; 2:30; 4:15 mother! 11:5, 14, 76(r) Assassination of Trotsky, The 1:39 (1958) 11:47 Abel, Tom 12:9 Ahwesh, Peggy 12:19 Anderson, Paul W.S.
    [Show full text]
  • Download Download
    Excursions Volume 8, Issue 1 (June 2018) Networks Cover photo: Students in Bangladesh protest 7.5 per cent VAT on their tuition fees, 10 September 2015. © Nahid Sultan / Wikimedia Commons / CC BY-SA 4.0. Andrea Gelardi, ‘Bologna and its Cineteca: Building Trans-cending Networks’ Excursions, vol. 8, no. 1 (2018) www.excursions-journal.org.uk Andrea Gelardi St Andrews University Bologna and its Cineteca: Building Trans-cending Networks It is only after film archives of different countries have established regular contacts that we will know the true history of cinema. (Langlois, 1936, p.99) In a socio-political scenario marked by insurgent and ‘heightened nationalist discourses’ (Butler, 2004, p.xi), networks have come to play a nodal role in connecting nations and localities, enabling cultural exchange, affecting the dynamics of identity formation and, thus, countering the logic of national separatism. Social theorists have variously interpreted networks as creative drivers for urban development (Mommaas, 2004) and as cooperative relational systems (Rohrschneider and Dalton, 2002). In the midst of these © Andrea Gelardi, 2018. License (open-access): This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. No warranty, express or implied, is given. Nor is any representation made that the contents will be complete or accurate or up to date. The publisher shall not be liable for any actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material.
    [Show full text]
  • A FILM by MED HONDO (Mauritania, 1970)
    MARTIN SCORSESE’S WORLD CINEMA PROJECT Presents the restoration of SOLEIL Ô (Oh, Sun!) A FILM BY MED HONDO (Mauritania, 1970) Information: Address: [email protected] The Film Foundation/World Cinema Project [email protected] 7920 Sunset Boulevard, 6 th Floor Los Angeles, CA 90046 – USA Film Bookings: 110 W. 57th Street, 6th Floor New York, NY 10019 – USA [email protected] Restoration supported by the George Lucas Family Foundation This restoration is part of the African Film Heritage Project, created by The Film Foundation, FEPACI and UNESCO – in collaboration with Cineteca di Bologna – to help locate, restore, and disseminate African cinema. 1 2 It was purely by chance that we ended up being artists ‘of colour’, as is the term usually used. In Paris together for basically the same reasons, Bachir, Touré, Robert and I found ourselves right in the middle of a country, a city, where we had to get by, for a lack of better words, where we had to work: being an actor, a musician, a singer. And where we realized immediately the doors were closed […]. As a solution we thought of creating a theater group and, in the meantime, we all made Soleil Ô . In order to make the film we had to overcome every bureaucratic and material obstacle, in other words, find a producer and tell him: “It’s the best story around, because we believe in it”. Like they say: “If you’re good at talking, you’re good at making film”. And so, we made Soleil Ô without money […].
    [Show full text]
  • February 2017 at BFI Southbank Films
    ONSTAGE APPEARANCES INCLUDE: OSCAR-WINNING EDITOR & SCORSESE COLLABORATOR THELMA SCHOONMAKER, DIRECTORS NEIL JORDAN (THE COMPANY OF WOLVES) & ALICE LOWE (SIGHTSEERS), ACTORS LORRAINE BRACCO (GOODFELLAS, THE SOPRANOS), EDWARD FOX (DAY OF THE JACKAL) & TIM MCINNERNY (BLACKADDER) Film and TV Previews include: THE FOUNDER (John Lee Hancock, 2016), HIDDEN FIGURES (Theodore Melfi, 2016), TRESPASS AGAINST US (Adam Smith, 2016), PREVENGE (Alice Lowe, 2016) Runs include: MOONLIGHT (Barry Jenkins, 2016), GOODFELLAS (Martin Scorsese, 1990), TAXI DRIVER (Martin Scorsese, 1976) Wednesday 21 December 2016, London. This February at BFI Southbank will see the conclusion of the BFI’s major Martin Scorsese retrospective and the special programme Martin Scorsese Curates, in which the director picks his favourite titles from The Film Foundation back catalogue. The Scorsese season will boast some very special guests in February including Scorsese’s frequent collaborator, Oscar-winning editor Thelma Schoonmaker (Raging Bull, GoodFellas, The Departed) and actor Lorraine Bracco (GoodFellas, The Sopranos), who will take part in a Q&A following a screening of GoodFellas (1990), which is re- released on Friday 20 January as part of the season. Also playing on extended run will be Taxi Driver (1976), which is re-released by Park Circus on Friday 10 February. Our television season in February will be Forgotten Dramas, a short series of ground-breaking and rare TV dramas, featuring famous faces such as Patrick Troughton, Zoë Wanamaker, Michael Elphick and Edward Fox,
    [Show full text]
  • Greta Garbo Den Gudomliga
    Stockholm Greta Garbo Den gudomliga Dessutom i augusti–september: Michael Cimino, Aki Kaurismäki, Andreas Dresen, Lizzie Borden 2 Inledning augusti–september Omslag: Greta Garbo i Garbo Greta Omslag: bland känns det som att vi på Cinemateket tjatar om att vi är medlemmar i den internationella filmarkivfederationen I FIAF, men jag anar att det för de flesta inte betyder något. Vi tjatar dock inte bara för att det möjliggör att låna kopior från de andra FIAF-anslutna arkiven utan även för att det är hatten, Gröna en gemenskap som betyder mycket för oss. Att träffa kollegor från andra cinematek och arkiv som brinner för film både inspirerar och möjliggör vår programsättning. i Niro De Robert och Streep Meryl baksida: FIAF är naturligtvis bara en del av vår gemenskap. Publiken som besöker våra visningar och som hör av sig till oss är en annan och själva grunden för vår verksamhet. En tredje är filmarna själva. Det finns de som inte bara gör film utan också engagerar sig i bevarandet och tillgängliggörandet av film- historien. Martin Scorsese och Agnès Varda är kanske de mest publika exemplen. Och det känns fantastiskt att vi under våren hade kontakt med två filmskapare som i allra högsta grad är en del av denna gemenskap. Kelly Reichardt, som har valt att donera 35 mm-kopior av sin filmOld Joy till en rad filmarkiv, bland annat vårt, för att säkerställa Deer deras långtidsbevarande. Och Aki Kaurismäkis bolag Sputnik, som inte vill ha betalt för visningarna helt enkelt för att de vill att filmerna ska visas så mycket möjligt. Hunter Vi är glada och stolta över att vara en del av denna gemenskap och jag hoppas att Lizarazu Maldonado Persson/Sami Johanna Brännström: Danial , ni också är det.
    [Show full text]